With thirteen installations and sculpturesmost but not all executed for the occasionand twelve photographs, South African artist Kendell Geers addressed the theme of power and the ambiguous boundary separating individual and collective responsibility. The show's title, “Mondo Kane,” is also that of a piece from 2002 consisting of a cement cube entirely covered with pieces of glass, evoking control and enclosure. The form symbolizes the “white cube ”exhibition venue, and the punning title, which conflates the name of the 1962 Italian “shockumentary” Mondo Cane (meaning “beastly world”) with Citizen Kane, interweaves references to other systems of domination. Moreover, unfolding the sides of a cube, one obtains a cross, that central cultural symbol. And indeed, one room in the gallery contained a wooden crucifix, T.W.-(I.N.R.I.), 1995-2002, covered with the red and white plastic